Simon Denny produces sculptural installations that follow the way one experiences ob­jects and images. Combining selected subjects with conventional exhibition styles, Denny works through different layers of authorship and forms of structural logic with an at­tention to the most common formats of visual experience. For Display with Sound, Denny will re-present a selection of works derived from his “analysis of the physical thinning out of the television set and link it to the depth of represented space in the presented imagery, the ubiquitous TV-store display regular of aquatic scenery.” This investigation has been presented in a series of exhibitions be­ginning with “Aquarium Videos”, “7 Drunken Videos” and “Watching Videos Dry”, culminat­ing with “Deep Sea Vaudeo” at Daniel Buchholz Gallery, Cologne.

Hannah Sawtell’s work proposes an engagement with the means of production and the way form and image is disseminated. Works are sometimes deployed as satirical, ‘Swift­ian’ observations, but often feel like odes to the forced, bittersweet evolution of use value. Sawtell teases out the vacillating beauty and numb homogeneity of the current. With precision and an air of lyricism her work generates relationships between objects, creating balanced but contradictory dialectical encounters. In Rent (A youth of waste, a life of mess) Sawtell digitally edits civic sounds (such as a recording of a London shopping centre) and a series of images pulled from Internet product promotions and screensaver palettes. Between each image is a generic animated transition, as those commonly seen on computer slideshow presentations. Into this cy­cle Sawtell introduces methods of interruption, reception becomes stuttered, whereupon a moment of caesura is proposed. The cyclical nature of excess in production is sliced chipped and parted.

Positioning his work amid the gallery space and the expansive wilderness of nature Oscar Tuazon’s liminal sculptural interventions hover between the assiduity of an architec­tural model and impetuosity of an improvised shelter. Taking generic waste and using it as a conduit for a premeditated utopian vision his work challenges the functionality and the inherent logic of the constructed environment. Upon entering the gallery Tuazon presents one of the simplest and most utilitarian of entities – a single self-supported table, fabricated from discarded manufactured materi­als. The boardroom size table operates as a point of convergence and a platform for fur­ther discussion.

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